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‘Come on, Come over, Delights forever!’

solo show by Nina Bachmann 

13.01.23 - 03.02.23

ABOUT THE EXHIBITION

What does it mean to be happy? Can irreparable damage be healed? Is accepting the beauty of the present moment the first step towards healing? Does being well mean idealizing an unattainable integrity, undertaking the search for an exaggerated harmonious balance?

Starting from the premise that inhabiting this world leaves wounds and aware that healing is a personal process for which there is no secret formula, the artist unfolds in this new series of works a generous range of possibilities to reconnect with oneself. The characters that inhabit her works invite us to join in their enjoyment and to let ourselves be carried away by a tempting present full of promises of delight: sharing, swimming together in the blue sea, laughing non-stop. There is a sense of carefree optimism with no expiration date, a hypnotic surrender to the present moment. They toast and smoke, alone or in company, surrounded by nature or sitting around a table full of delicious food. Each scenario lends to an immediate delectation where flora and nature abound. The yellow figures invite the viewer to join them in their delights, to let themselves be carried away no matter what, occupying a large part of the surface of the work and claiming their right to have endless fun. The gestures they

perform and the expressions on their faces create a feeling of strange familiarity that recalls the universal nature of social interaction as an escape route.

Overwhelmed by the randomness of everyday life, where great personal strokes of fate mix with the most irreversible catastrophes, Nina Bachmann proclaims our right to feel at peace and to return to a state of lightheartedness: "I undertook a quest to capture and celebrate the microcosmic beauty of living now".

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ABOUT NINA BACHMANN

Nina Bachmann, born 1990 in Munich, is an artist who lives and works in Munich, Germany.
After finishing her design studies at the University of Applied Sciences, she worked at a graphic agency until she decided to focus completely on painting. 

Nina’s works blur the contours of conventional identity while playfully mocking what she calls “the absurdities of high society.” The subjects in Nina’s works are euphoric, intoxicated, and jubilant. They are kinky and in a state of arousal. They are even genderless. But their anxious grimaces betray their insecurities and the lingering awareness that all this excess cannot last. And it is this duality that Nina aims to convey to her viewers, who, perhaps seeing themselves reflected on the canvas, are meant to receive a “tenuous pleasure” from her works. Using bright and garish colors, Nina gives her viewers a visual feast upon which to gorge as they reflect on their own place in the scenes they see before them.

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